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Le livre est en open access sur Open Edition.; International audience; Le présent ouvrage apporte une contribution à l’histoire des arts du spectacle à Rome entre l’avènement en 1644 du pape Innocent X, issu de la famille des Pamphilj, et la mort du cardinal mécène Pietro Ottoboni en 1740, qui marqua la fin de l’époque du népotisme. Les innombrables spectacles organisés à l’époque par les familles de la haute aristocratie ont laissé des traces de leur exécution et de leur appréciation par le public dans des archives encore peu exploitées. En analysant, sous l’angle du concept de performance, l’événement spectaculaire dans toutes ses dimensions (mécénat, financement, livrets, partitions, enjeux socio-politiques, collaborations artistiques, exécution singulière ou réitérée, réception par le public, mémorialisation), il devient possible de resituer ces entreprises artistiques dans le cadre d’une histoire sociale et culturelle de l’époque. À partir de l’exploration des archives de plusieurs grandes familles aristocratiques de Rome, des actes notariés et des archives institutionnelles, comme celles des académies, des établissements d’enseignement ou des théâtres, une vingtaine de spécialistes appartenant à des disciplines diverses s’interrogent sur l’existence, à l’époque, d’un modèle d’organisation commun aux différentes familles en matière d’arts du spectacle, un modèle qui est le signe d’une culture collective ainsi que d’un système de normes et de valeurs largement partagé.

Mariee a Flavio Orsini en 1675, Marie-Anne de La Tremoille, plus connue sous le nom de princesse des Ursins, parvint a faire de son salon a Rome un haut lieu de la culture francaise, dans la lignee des salons parisiens comme l'Hotel de Rambouillet au sommet de sa gloire. A Rome, le fonds Orsini de l'Archivio Storico Capitolino et le fonds Lante della Rovere de l'Archivio di Stato contiennent deux series de lettres, negligees jusqu'a aujourd'hui, qui offrent des informations nouvelles sur la place de la musique, de la poesie et des divertissements dans la vie sociale des Orsini, tres attaches a la monarchie francaise. Ces lettres attestent l'existence d'un salon litteraire a la francaise dans le palais Orsini, fonde sur l'activite de la conversation, qui englobait elle-meme divertissements poetiques et musicaux. Le salon de la princesse des Ursins, percu a Rome comme le lieu d'un 'vivere alla francese', constitue un cas de transfert culturel qui merite d'etre etudie. En exploitant le versant polit...

International audience; Durant l’automne 1714, alors que la cour de France demeure en proie aux afflictions les plus inconsolables depuis la disparition de tous les prétendants à la couronne, la fête bat son plein au château de Sceaux, situé à quelques lieues de Versailles et de Paris. Depuis 1700, la reine du lieu est Louise-Bénédicte de Bourbon, petite-fille du Condé, princesse du sang mariée en 1692 à Louis-Auguste de Bourbon, duc du Maine, fils bâtard légitimé de Louis XIV. Ressentant cette alliance comme un affront infligé à son sang et son rang, la duchesse du Maine crée sa propre cour modelée par son goût pour les arts et pour les sciences. Elle s’entoure d’une société savante et lettrée, développe une intense activité mondaine, tout en donnant des bals et des fêtes qui atteignent leur zénith lors les fameuses Grandes Nuits de Sceaux données de l’été 1714 au printemps 2015. Cette absence de frontière entre privé et public est une composante forte du monde de la duchesse du Maine qui sera vertement critiquée par Saint-Simon. Après une première partie consacrée à la sociabilité particulière mise en œuvre au château de Sceaux (réseaux, productions mondaines et artistiques), c’est essentiellement autour des Grandes Nuits que nous centrerons notre réflexion d’un point de vue à la fois politique et esthétique. Très clairement inspirées de celles données par le jeune Louis XIV pour asseoir son pouvoir, les fêtes de Sceaux ont pour principal objet d’attirer l’attention sur la duchesse du Maine afin d’en donner une image publique forte, à la veille de la question de la succession à la couronne de France. Nous nous interrogerons ensuite sur l’origine et la spécificité de l’inspiration nocturne de ces spectacles, ainsi que sur leurs acteurs (ordonnateurs, poètes, musiciens, artistes). Malgré un état lacunaire des sources (poétiques, musicales, visuelles), nous tenterons d’apprécier enfin les grandes lignes esthétiques de ces Nuits au carrefour des goûts anciens et des courants nouveaux.

International audience

International audience; In 1670, the marriage between Giovanni Battista Rospigliosi, nephew of Pope Clemente IX, and Maria Camilla Pallavicini, of Genoese origin, ratified the creation of a new dynasty: the house of Rospigliosi-Pallavicini. Both husband and wife were descended from non-Roman families; together they worked hard to consolidate their social advancement. Both were cultured, avid art collectors and music patrons; each cultivated individual interests and tastes. The Duchess Rospigliosi, in particular, made a name for herself at the beginning of the 1690s through the promotion of a series of operas in the theatre of the Palazzo al Quirinale, where the new family resided. This essay analyses various types of sources, such as chronicles, avvisi (manuscript newsletters), librettos, and celebratory poems related to these events, with two main goals: to reconstruct the network of literati, artists, and musicians who gravitated around the Rospigliosi, and to uncover the ways in which the Duchess successfully made herself visible on the Roman ‘stage’ at the end of the seventeenth century.

International audience; This essay offers a thematic analysis, in three parts, of the concept of caduta (falling) as it was imagined and represented in the performing arts in seventeenth- and eighteenth-century Rome, focusing in particular on its material aspects and symbolic meanings. Our analysis illustrates how the caduta was performed, its functions on the stage, and its communicative importance beyond the stage, thus bringing to light the interdisciplinary significance of the caduta through the integration of its various aspects and styles. From the stage to iconographic context, from music to social reality, from behavioural patterns to dance, through the caduta we highlight issues of far-reaching socio-cultural, philosophical, religious, and political significance that are linked or even attributable to the power of aristocratic magnificence and its modes of expression.

International audience; This contribution investigates the fundamental role that Roman colleges played in aristocratic schooling and, in particular, in the education of gentlemen to magnificence, a process discussed here as the transmission and acquisition of a set of techniques that are socially defined and shared. Using documents related to seventeenth- and eighteenth-century Roman colleges, this essay sheds light on the ways in which the techniques of magnificence were imparted to students. In particular, it considers how the spaces in which students lived exemplified magnificence, and how the activities they engaged in as part of their education, such as the chivalric arts and theatre, functioned to train and shape their bodies, voices, and gestures. In addition, this chapter shows how students’ participation in gatherings and performances of academies in the college context provided them with the opportunity to acquire and experiment with ceremonial and behavioural skills and protocols. After college, the young gentlemen would have acquired the cultural models that were fundamental to the social behaviours, cultural production, and consumption systems effective in early modern court society.

International audience; This contribution is a reflection on the noble ‘family archive’ as a patrimonial asset, as well as a space dedicated to the keeping and preservation of documents, exploring its dual function and methods of use by the Roman aristocracy in the Modern Age. In light of several case studies, and through examination of the process of formation of certain types of documents, how families related to the documentation they produced is discussed, as well as the reasons underlying its conservation and transmission, particularly in relation to these families’ need to mark their social pre-eminence. The strategies adopted by aristocratic families to entrust their archives the task of handing down their memory and the image of their magnificence are highlighted.

International audience

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This contribution considers the question of cross-casting, the practice of casting actors or singers as characters of the opposite sex, a distinctive element of seventeenth- and eighteenth-century Roman opera. It will focus in particular on two operas by Alessandro Scarlatti: Il Pompeo (1683), sponsored by Lorenzo Onofrio Colonna, and La Statira (1690), sponsored by Cardinal Pietro Ottoboni. These operas featured the contralto Bartolomeo Monaci, also known as Montalcino, in the roles of seconda and prima donna, respectively. Montalcino’s parts are analysed using the notion of the role, understood here as the convergence between the skillset of the performer (vocality, eloquence, physiognomy, acting skills) and the part intended for him.Text available online: https://books.openedition.org/efr/17607, Il contributo tratta la questione del cross-casting, espressione che designa la pratica di far interpretare ad attori o cantanti personaggi di sesso opposto, ed elemento distintivo dell’opera romana del Sei e Settecento, in due opere di Alessandro Scarlatti: Il Pompeo (1683) e La Statira (1690), l’una patrocinata da Lorenzo Onofrio Colonna e l’altra dal cardinale Pietro Ottoboni. Il contralto Bartolomeo Monaci, detto Montalcino, vi interpretò rispettivamente le parti di seconda e prima donna. Queste ultime sono analizzate alla luce della nozione del ruolo, inteso come convergenza tra l’insieme delle capacità dell’interprete (vocalità, eloquenza, fisionomia, capacità attoriali) e la parte che gli è destinata.Testo integrale : https://books.openedition.org/efr/17607

International audience; Le 12 mai 1686 le cardinal d’Estrées, frère de l’ambassadeur de France à Rome, organisa dans la Ville éternelle une fête mémorable qui se déroula dans un périmètre incluant l’église de la Trinité-des-Monts, dont il était le titulaire, le palais de la Propaganda Fide, la colline du Pincio et, à son pied, le centre de la place d’Espagne au niveau de la fontaine de la Barcaccia. Les festivités célébraient la signature de l’édit de Fontainebleau, par lequel Louis XIV, le 18 octobre 1685, avait révoqué l’édit de Nantes qui, depuis 1598, définissait les droits des protestants en France.Il s’agira d’abord de fournir des éléments de contextualisation historique, puis de présenter le déroulé précis de la fête à partir de l’ensemble des sources discursives qui nous sont parvenues, en faisant appel également aux deux gravures représentant la façade décorée de la Trinité-des-Monts et la colline illuminée du Pincio, et, pour terminer, de réfléchir au sens que l’événement recouvrait pour son commanditaire et, plus globalement, pour la politique étrangère de la cour de France.

International audience; This contribution considers the question of cross-casting, the practice of casting actors or singers as characters of the opposite sex, a distinctive element of seventeenth- and eighteenth-century Roman opera. It will focus in particular on two operas by Alessandro Scarlatti: Il Pompeo (1683), sponsored by Lorenzo Onofrio Colonna, and La Statira (1690), sponsored by Cardinal Pietro Ottoboni. These operas featured the contralto Bartolomeo Monaci, also known as Montalcino, in the roles of seconda and prima donna, respectively. Montalcino’s parts are analysed using the notion of the role, understood here as the convergence between the skillset of the performer (vocality, eloquence, physiognomy, acting skills) and the part intended for him.Text available online: https://books.openedition.org/efr/17607; Il contributo tratta la questione del cross-casting, espressione che designa la pratica di far interpretare ad attori o cantanti personaggi di sesso opposto, ed elemento distintivo dell’opera romana del Sei e Settecento, in due opere di Alessandro Scarlatti: Il Pompeo (1683) e La Statira (1690), l’una patrocinata da Lorenzo Onofrio Colonna e l’altra dal cardinale Pietro Ottoboni. Il contralto Bartolomeo Monaci, detto Montalcino, vi interpretò rispettivamente le parti di seconda e prima donna. Queste ultime sono analizzate alla luce della nozione del ruolo, inteso come convergenza tra l’insieme delle capacità dell’interprete (vocalità, eloquenza, fisionomia, capacità attoriali) e la parte che gli è destinata.Testo integrale : https://books.openedition.org/efr/17607

International audience

International audience

International audience

International audience; Cet ouvrage analyse le parcours artistique d’un compositeur majeur de l’époque de Monteverdi, Sigismondo D’India (c. 1582-c. 1629), depuis l’Italie méridionale de ses origines jusqu’à son séjour à Rome et à Modène, où le musicien acheva son existence. En étudiant les villes, les cours, les princes protecteurs, les dédicataires et les lieux destinés à la musique, chacune des parties suit une étape de la carrière de D’India et redonne vie aux mondes de ce compositeur italien d’avant-garde. Apparaissent alors les thématiques du voyage, de la circularité et du croisement, lesquelles permettent de penser l’histoire de la musique comme une histoire à la fois des pratiques culturelles et de l’expérience musicale.

Cet ouvrage analyse le parcours artistique d’un compositeur majeur de l’époque de Monteverdi, Sigismondo D’India (c. 1582-c. 1629), depuis l’Italie méridionale de ses origines jusqu’à son séjour à Rome et à Modène, où le musicien acheva son existence. En étudiant les villes, les cours, les princes protecteurs, les dédicataires et les lieux destinés à la musique, chacune des parties suit une étape de la carrière de D’India et redonne vie aux mondes de ce compositeur italien d’avant-garde. Apparaissent alors les thématiques du voyage, de la circularité et du croisement, lesquelles permettent de penser l’histoire de la musique comme une histoire à la fois des pratiques culturelles et de l’expérience musicale.

International audience; Notre communication se fonde sur les recherches que nous menons depuis de nombreuses années sur le 'Mercure galant'. Elle propose un étude du rôle des foyers - réels ou idéalisés - dans la production et la circulation du concert, du petit opéra et de l’air.

The letters of Marie-Anne de La Trémoille, Princesse des Ursins, married to Duke Flavio Orsini, who headed the francophile lobby in Rome, and those of her sister Louise-Angélique, Princess of Belmonte, wife of Prince Antonio Lante della Rovere, give evidence about all kinds of musical activities, either for private entertainments or for brilliant social gatherings within their palaces. This paper firstly provides a comparative analysis of the two sisters' socio-cultural profile. This case study then documents how women of the aristocracy could try to use their influence within local Roman nobility to support the interests of French monarchy. The last part of the discussion focuses on the theatrical, musical and dance preferences of the two sisters so as to estimate the atavism of their "national" background and to see how each of them organized her patronage in an original way.

International audience; The letters of Marie-Anne de La Trémoille, Princesse des Ursins, married to Duke Flavio Orsini, who headed the francophile lobby in Rome, and those of her sister Louise-Angélique, Princess of Belmonte, wife of Prince Antonio Lante della Rovere, give evidence about all kinds of musical activities, either for private entertainments or for brilliant social gatherings within their palaces. This paper firstly provides a comparative analysis of the two sisters' socio-cultural profile. This case study then documents how women of the aristocracy could try to use their influence within local Roman nobility to support the interests of French monarchy. The last part of the discussion focuses on the theatrical, musical and dance preferences of the two sisters so as to estimate the atavism of their "national" background and to see how each of them organized her patronage in an original way.

International audience

The article first provides an account of nobiliary archives as a source for the history of music, by surveying the extant historiography on the question and emphasizing the main methodological problems raised by this kind of collection. Discussion then focuses on the Lante della Rovere collection, preserved in the Archivio di Stato of Rome. After a general presentation of the seventeenth-century documents contained in this collection, among which different subgroups may be distinguished, the author offers a broad sketch of the variety of the documents - financial records, inventories of goods and correspondence - in which information can be found on the persons, events and practices associated with musical life in Roman families. In fine, this case study makes it possible to state some methodological principles that are valuable for further research.

International audience

The article first provides an account of nobiliary archives as a source for the history of music, by surveying the extant historiography on the question and emphasizing the main methodological problems raised by this kind of collection. Discussion then focuses on the Lante della Rovere collection, preserved in the Archivio di Stato of Rome. After a general presentation of the seventeenth-century documents contained in this collection, among which different subgroups may be distinguished, the author offers a broad sketch of the variety of the documents - financial records, inventories of goods and correspondence - in which information can be found on the persons, events and practices associated with musical life in Roman families. In fine, this case study makes it possible to state some methodological principles that are valuable for further research.

International audience

International audience

International audience

International audience